Television viewer seeing this for the first time: Gee whiz, it's in black-and-white and was made in the 40's and is about crime and...Eureka!...another "noir" film is discovered. How about ... See full summary »
July 22, 1934 - outside Chicago's Biograph Theater, a barrage of FBI bullets brings down John Dillinger. As the body of Public Enemy Number one crumbles to the ground, one of the strangest,... See full summary »
F. Murray Abraham,
Gordon Miller is rehearsing a musical comedy in the penthouse suite of Gribble's hotel...on credit. The mounting bill is driving Gribble frantic. Chaos increases when playwright Glen ... See full summary »
Conceited war correspondent Steve Kimball, desperate to get back to the USA from occupied Paris, reluctantly agrees to chaperone a troupe of stranded, teenaged hepcat entertainers. Plus ... See full summary »
While waiting at a train station, Nikki Collins witnesses a murder from a nearby building. When she brings the police to the scene of the crime, they think she's crazy since there's no body... See full summary »
Johnny Angel sets out to learn who hijacked a gold shipment from his father's ship and killed his father, the captain. He is joined in the search by Paulette, whose own father has been ... See full summary »
The rise of John Dillinger from petty criminal (including, unforgiveably, holding up a cinema) via prison and bank robbery with his new convict associates to the accolade of Public Enemy Number One. Written by
Jeremy Perkins <email@example.com>
There are tough guys and there are tough guys, but Brooklyn-born Lawrence Tierney was the real deal off and on screen. His casting in the 1945 Dillinger was fortuitous, as the film was the sleeper of the year, and made Tierney briefly an overnight star. He soon became Hollywood's bad boy, getting into scrapes with the law and in general raising hell, which doubtless explains his relatively brief starring career. In Dillinger he is excellent in the lead role, and while he does not much resemble the real Dillinger he is right for the movie. His face and especially eyes, tough and sad at the same time, make him perfect casting whatever his other deficiencies. There is some pretty outdoor photography in the film, which is at times rather arty, but successfully so. The acting is generally quite good, and the mood offbeat and foreboding, and quite different from the typical gangster picture from the thirties. It started a new trend in more realistic, psychological, less city-bound crime pictures with 'dangerous' leading characters, such as the Walsh-Cagney White Heat.
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